DOCSLIB.ORG

Completion Bonds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Completion Bonds Vanderbilt Journal of Entertainment & Technology Law Volume 2 Issue 2 Spring 2000 Article 1 2000 Guarantying a Hit (or Miss): Understanding the Completion Guaranty Business in Hollywood James W. Coupe Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Contracts Commons Recommended Citation James W. Coupe, Guarantying a Hit (or Miss): Understanding the Completion Guaranty Business in Hollywood, 2 Vanderbilt Journal of Entertainment and Technology Law 137 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol2/iss2/1 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. filmlTv rs itanic was. So was Waterworld. Heck, even The Adventures of Baron MunchausenBy James was. W. Coupe Blockbusters? No. Oscar winners? Wrong again. Yet these three films do share one unfortunate characteristic - each of these pictures was over budget, drastically in some cases. Although caused by different forces and cured by different individuals, each film eventually forced someone to pay a great deal of money unexpectedly. Like many unforeseen expenses, these too can be insured against. Enter stage right, a completion guaranty company. Any and all film productions financed by non-producer third parties should have a completion guaranty.1 In the most fundamental terms, a completion guaranty 2 does exactly what its name implies-it guarantees that a film will be completed and delivered to the distributor by a certain date. In furtherance of this promise, the completion guarantor has the contractual authority and obligation to: 1) compel the producer to complete and deliver the film and advance any sums in excess of the budget required by the producer to do so, 2) take over production herself and complete and deliver the film, or 3) abandon production and repay the financier out-of-pocket expenditures plus interest with respect to the film up to the contractually established limit of liability. Understanding the detailed operations of a completion guaranty requires a base knowledge of the underlying film transaction. The simplest form of film financing involves four major players: pro- ducer, distributor, financier, and guarantor. 3 The first contract occurs between the producer and dis- Understanding the Completion Guaranty Business in Hollywood tributor. Under a typical arrangement, the producer agrees to make the film and deliver it to the dis- tributor in accordance with a number of agreed upon technical specifications. In return, the distrib- utor must pay the cost of the budget plus interest. These specs include such things as the screenplay, running requirements, and often cast and director. Once such an agreement is in place, the produc- er secures financing from a bank or other financier in the amount payable under the distribution agreement. 4 The producer then assigns the distribution agreement to the bank as its sole collater- al. 5 Simultaneously, the distributor agrees not to interfere with the film and to pay back the bank upon timely delivery of the "completed film."6 As with any loan, the financier conducts a credit analy- sis on the distributor and takes the risk that the distributor will default. However, banks and cer- 1c;a hit (or miss) tain financiers are not in the business of producing films dozens of other production issues must also be insured. and frequently want and need to protect themselves from The completion guaranty provides no protection from the risk that the film will not be completed in accordance potential losses with regard to this interest. Therefore, with the contractual provisions. As a result, the financier one should properly view a completion guaranty as a sup- 9 will typically require the producer to secure a completion plemental form of security only. This notwithstanding, guaranty. The guarantor assures that the bank's collat- the total insurance package will be reviewed and eral (the film) will be completed and delivered in a time- approved by the completion guarantor from both a cover- ly and technically correct fashion. age and limit perspective since the completion guarantor In an effort to minimize the risk inherent in guaran- assumes responsibility for the insurance vis-A-vis the teeing the completion of a motion picture, the guarantor bank or financier. In addition, the producer must pur- and financier use an inter-party agreement. 7 All of the chase errors and omissions, general liability, auto liabili- aforementioned participants to the financing execute this ty, guild travel, workers' compensation, payroll, and agreement, which thereafter, by its terms, becomes the umbrella coverage. When a film is shot in a foreign loca- overriding and unifying agreement of the financing tion, foreign general and auto liability must be purchased process. This document reconciles all of the inconsisten- as well as foreign workers' compensation. This compre- cies among the various contracts heretofore involved in hensive insurance package is designed to cover any the transaction and sets forth, in very narrow terms, the insurable risk on the film. In contrast, the completion obligations of the completion guarantor in relation to the guarantor's risk is limited purely to the completion risk. film.8 In the event of conflict between the inter-party The conditions and exceptions in the completion guaran- agreement and the distribution agreement, the inter- ty further limit the completion guarantor's potential liability. party agreement prevails. Therefore, the completion As a first condition to the completion bond, the pro- guarantor insures that the film will be delivered in accor- ducer must execute the producer's completion agree- dance with the inter-party agreement. This relieves the ment, which sets forth the rights and obligations of the 10 completion guarantor from the untenable position of completion guarantor vis-a-vis producer. The guaran- assuming risk based on several interdependent and tor should also confirm that all fees due to it have been inconsistent agreements. paid and that the 10 percent contingency for the film has 1 Obviously, the actual process of acquiring and execut- been funded. 1 The completion guaranty fee, which typ- ing a completion bond is much more complex than may ically equals two to three percent of the budget, usually appear from this brief description. This Article seeks to must be paid upon issuance of the completion guaranty 12 answer a number of frequently asked questions regard- documents. In addition, a completion guarantor will ing the obligation and liability undertaken by the com- sometimes require a deferred fee of one to two percent of pletion guarantor. the budget. If required under the documentation, the producer will pay the deferred fee only if the completion The Extent of the Risk guarantor is required advance funds towards completion of the film.1 3 The deferred fee is either paid to the com- On the surface, guarantying a film may appear like pletion guarantor to hold in escrow, or reserved, but not quite a risky undertaking. In fact, however, a number of advanced, as part of the bank loan. This fee acts as an factors aid in reducing much of the risk. One principal additional contingency to be applied by the completion guar- factor is the existence of insurance. The insurance pack- antor in the exercise of her discretion towards the comple- 14 age for the film greatly limits the extent of the guaranty tion of the film after the original contingency is depleted. obligation. Insurance always serves as the primary eco- On a theoretical level, the completion guarantor may nomic protection for the film. The completion guaranty wish to become involved in managing the film as soon as merely supplements the insurance. In addition, the com- cost overages and/or delay problems begin to occur. The pletion guaranty is further limited by the conditions and completion guarantor would then examine why the over- exceptions contained in the completion guaranty itself. ages are occurring and require the producer to take As previously mentioned, the completion guarantor appropriate steps to get the production back on course. insures that the film will be completed by a specified time However, the contingency fee and, if applicable, deferred and in a specified manner. Of course, property and fee serve as a cushion for the guarantor. The vast major- ity of all films that are guarantied are completed within ity for the producer's failure to obtain title to or license to this 10 percent buffer. Consequently, the completion use the story, script, music or other rights in connection guarantor has the necessary flexibility to work with the with the film. In addition, the completion guaranty producer in a constructive manner towards the common excludes responsibility for the film infringing or alleged- goal of keeping the film on budget and on schedule. As a ly infringing the rights of others, including invasion of result, the completion guarantor can frequently avoid the privacy claims. Instead, the producer and the financier need to become more directly involved with the project. would look to the errors and omissions insurance policy The second condition to the completion guaranty for protection against these claims. should require that the film financier make available, as 2. The
Load more

Recommended publications
  • Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
    Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
    [Show full text]
  • Film Financing
    2017 An Outsider’s Glimpse into Filmmaking AN EXPLORATION ON RECENT OREGON FILM & TV PROJECTS BY THEO FRIEDMAN ! ! Page | !1 Contents Tracktown (2016) .......................................................................................................................6 The Benefits of Gusbandry (2016- ) .........................................................................................8 Portlandia (2011- ) .....................................................................................................................9 The Haunting of Sunshine Girl (2010- ) ...................................................................................10 Green Room (2015) & I Don’t Feel at Home in This World Anymore (2017) ...........................11 Network & Experience ............................................................................................................12 Financing .................................................................................................................................12 Filming ....................................................................................................................................13 Distribution ...............................................................................................................................13 In Conclusion ...........................................................................................................................13 Financing Terms .....................................................................................................................15
    [Show full text]
  • Coronavirus and the European Film Industry
    BRIEFING Coronavirus and the European film industry SUMMARY With the onset of the coronavirus pandemic, which has caused the shutdown of some 70 000 cinemas in China, nearly 2 500 in the US and over 9 000 in the EU, the joy sparked by the success of the film industry in 2019 has quickly given way to anxiety. Shootings, premieres, spring festivals and entertainment events have faced near-total cancellation or postponement due to the pandemic, thus inflicting an estimated loss of US$5 billion on the global box office; this amount could skyrocket to between US$15 billion and US$17 billion, if cinemas do not reopen by the end of May 2020. The EU film sector is essentially made up of small companies employing creative and technical freelancers, which makes it particularly vulnerable to the pandemic. The domino effect of the lockdown has triggered the immediate freeze of hundreds of projects in the shooting phase, disrupted cash flows and pushed production companies to the brink of bankruptcy. To limit and/or mitigate the economic damage caused by coronavirus, governments and national film and audiovisual funds across the EU have been quick in setting up both general blanket measures (such as solidarity funds and short-term unemployment schemes) and/or specific industry-related funds and grants (helping arthouse cinema and providing financial relief to producers and distributors). For its part, the EU has acted promptly to limit the spread of the virus and help EU countries to withstand its social and economic impact. In addition to the Coronavirus Response Investment Initiative (CRII) and the CRII+, both approved by the European Parliament and the Council in record time, the Commission has set up a Temporary Framework allowing EU countries to derogate from State aid rules, and proposed a European instrument for temporary support (SURE) to help protect jobs and workers affected by the coronavirus pandemic.
    [Show full text]
  • Option and Purchase Agreement Explanatory Notes
    OPTION AND PURCHASE AGREEMENT EXPLANATORY NOTES USING THE EXPLANATORY NOTES The Explanatory Notes are intended to provide more detailed explanations of certain clauses in this sample agreement or to give more detail about the law involved. The Explanatory Notes DO NOT form part of the agreement and should not be included in your final redrafted agreement. The Explanatory Notes are not intended as legal advice and should be considered information only. You should contact Arts Law for specific legal advice. PARTIES The agreement should clearly identify the name and address, and preferably the telephone and fax numbers, of the persons or organisations entering into the agreement (parties). Throughout the rest of the agreement, the parties are referred to or "defined" by shorthand terms for ease of reference, for example Producer. Other terms could be used, or the parties could simply use their own names. If a party has an Australian Business Number (ABN), Australian Company Number (ACN) or Australian Registered Body Number (ARBN), the number must be included. The ABN is important for GST purposes. If either party is a company, its Australian Company Number (ACN) and the address of its registered office must be stated. BUYING THE FILM RIGHTS TO AN EXISTING WORK Under the Copyright Act 1968 (Cth), the author of a literary or dramatic work (such as a book, play or screenplay) has the right to control reproduction, adaptation and publication of that work. This means that film makers who want to adapt an existing work into a film must buy the rights. If they do not, they risk an action for copyright infringement.
    [Show full text]
  • The Business of Making Movies
    Cover Story THE BUSINESS OF MAKING MOVIES B Y S. MARK Y OUNG,JAMES J. GONG, AND W IM A. V AN DER S TEDE The U.S. motion picture industry generates close to $100 billion in revenues, is one of the country’s largest exporters, and exerts enormous cultural influence worldwide. But today it also faces enormous pressures. 26 STRATEGIC FINANCE I F ebruary 2008 oing to the movies has always been one of ney Pictures, Warner Brothers Pictures, Paramount Pic- society’s most pleasurable pastimes. Over tures, Columbia Pictures, and Universal Pictures. The the past few years, though, enormous MPAA represents these studios internationally and plays a changes have occurred in the movie- number of roles: It advocates for the U.S. film industry, making business: escalating production protects producers from copyright theft, and fights pira- and marketing costs, the significant impact cy. In 2006, the MPAA studios released 203 films (34%), of increased piracy, the uncertainty in film and other, independent distributors released 396 (66%). financing, the proliferation of digital tech- Even though major studios have made their name in Gnology, and the increase in available entertainment Hollywood, large, vertically integrated conglomerates options for consumers. These and other factors have own them today. These conglomerates also incorporate a implications for the motion picture business, the types of number of other forms of entertainment and media, such movies it will produce, and how and where people will as radio stations, cable and network television stations, view them. Based on research sponsored by the Foundation for Applied Research (FAR) of the Institute of Management THE LARGEST DISTRIBUTORS OF Accountants (IMA®), this is the first in a series of articles on the U.S.
    [Show full text]
  • Evidence from the Film Industry
    Expected Returns on Real Investments: Evidence from the Film Industry Thomas Y. Powers∗ October 21, 2015 Abstract Using a proprietary, project-level dataset on the film industry, I study a cross-section of expected returns on real investments. Expected returns are in- creasing and concave in the idiosyncratic dollar variance of a film’s payoff, unlike in markets where such risk can be diversified. Expected returns are approxi- mately linear in dollar volatility. A $1 MM increase in volatility raises expected return by at least 43 basis points. I discuss theories from corporate finance that can rationalize the pricing of idiosyncratic risk, and I build a matching model between studios and films in which costly external finance can explain the facts. JEL Codes: G12, G32, L22. Keywords: Cross-sectional asset pricing, pricing real investments, project choice, managerial risk aversion, risk management ∗Harvard University, [email protected]. I am very grateful to John Campbell, Robin Greenwood, Victoria Ivashina, Diane Kahng, Steve Kovacs, Ari Levinson, Jean-Marie Meier, Filippo Mezzanotti, Vijay Narasiman, Jonathan Rhinesmith, David Scharfstein, Neil Shephard, Manpreet Singh, Erik Stafford, Luis Viceira, John Zhou, Eric Zwick, and the participants at the Harvard Finance Workshop and at the LBS Trans-Atlantic Doctoral Conference for their helpful comments. Additionally, I would like to thank Bruce Nash and OpusData for generously providing data and for feedback on my project. Introduction Businesses expect different returns on different projects, and these differences deter- mine which innovations are developed, which jobs are created, and which investments are available to savers. Nevertheless, despite its relevance, we know relatively little about which factors drive the cross-sectional variation in expected returns for real projects.
    [Show full text]
  • Welcome to Triton Nation! Using Your Student Handbook
    Welcome to Triton Nation! Your Iowa Central team specially designed this handbook for you to use as a resource for a great experience here at Iowa Central! Here’s what you will find inside: • Activities • Calendar • Events • Phone numbers • Policy and Procedures • Study Tips We hope this handbook helps you navigate your way and encourages you to get involved in the many exciting opportunities offered here! While we are planning for the best possible outcomes as we deal with COVID-19, we acknowledge that not all plans may go the way we intended. We are prepared to adjust and find new solutions should the situation with COVID-19 impact activities and events we have planned. We will always keep you updated with changes on the Iowa Central website found at www.iowacentral.edu. You made an excellent choice to study at Iowa Central and we are glad you are a part of Triton Nation! We will strive to fulfill our mission of providing you with a first-class experience in and out of the classroom. The entire Iowa Central team is dedicated to continually improve our services and educational environment. I invite you to share with me or any of my teammates, your feedback. I look forward to seeing you on campus! Tom Beneke Vice President, Enrollment Management and Student Development Using Your Student Handbook The Student Handbook is designed as a reference book or resource to be consulted and used as needed. Like any other learning tool (dictionary, thesaurus, the Yellow Pages), some students will use it frequently; others rarely.
    [Show full text]
  • Social Media Engagement and Film Box Office
    Running head: SOCIAL MEDIA ENGAGEMENT & B.O. 1 Social Media Engagement and Film Box Office Kimberly De Jesus University of Miami School of Communication COM 409: Honors Thesis Dr. Mitchell Shapiro May 1, 2020 SOCIAL MEDIA ENGAGEMENT & B.O. 2 Abstract This paper examines the effect of social media, specifically engagement rates for Facebook, Instagram, and Twitter on box office revenue. Larger engagement rates lead to greater brand awareness, word of mouth marketing, and better relationships with customers and so we believe engagement rates can be an effective metric to help predict box office performance. We calculated Pearson correlation coefficients for daily engagement rates across the aforementioned platforms and daily domestic box office for 12 films released between February and March 2020. The results indicate that there exists a positive correlation between social media engagement rates and box office revenues for all three social media platforms being studied, of which Instagram had the strongest correlation. Keywords: Social media, Movies, Box Office, Engagement rate, Instagram SOCIAL MEDIA ENGAGEMENT & B.O. 3 Social Media Engagement and Film Box Office Since Facebook’s launch in 2004 followed by Twitter in 2006 and Instagram in 2010, it is rather obvious that social media has changed the world. From the way we communicate with friends and family to how we make decisions to how information is shared, social media has slid into virtually all facets of society and transformed them. Social media has allowed word-of- mouth to go beyond small group conversations amongst friends, family, and coworkers by the water cooler to a large networked conversation between hundreds, thousands, and even millions of users.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Technical Guide Accounting for Motion Picture Films
    Technical Guide Accounting for Motion Picture Films Research Committee The Institute of Chartered Accountants of India (Set up by an Act of Parliament) New Delhi © The Institute of Chartered Accountants of India All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission, in writing, from the publisher. DISCLAIMER: The views expressed in this book are of the author(s). The Institute of Chartered Accountants of India may not necessarily subscribe to the views expressed by the author(s). The information cited in this book has been drawn from various sources. While every effort has been made to keep the information cited in this book error free, the Institute or any office of the same does not take the responsibility for any typographical or clerical error which may have crept in while compiling the information provided in this book First Edition : July, 2019 Committee/Department : Research Committee E-mail : [email protected] Website : www.icai.org Price : ` 100/- ISBN : 978-81-8441-966-5 Published by : The Publication Directorate on behalf of The Institute of Chartered Accountants of India, ICAI Bhawan, Post Box No. 7100, Indraprastha Marg, New Delhi – 110 002. Printed by : Sahitya Bhawan Publications, Hospital Road, Agra - 282 003 September | 2019 | P2566 (New) Foreword The Indian film industry mainly produces motion picture films across India. A motion picture film is a bundle of rights emanating from contractual arrangements or otherwise and in accounting terms it is an intangible asset as it is a collection of rights owned by an enterprise for deriving economic benefits through exploitation.
    [Show full text]
  • Film Director Agreement (Fiction Film)
    FILM DIRECTOR AGREEMENT (FICTION FILM) The Parties to this Agreement are: ___________________ , personal identity code _________, address _____________________________ (hereinafter the ”Director”); and ___________________ , company identity code _________, address _____________________________ (hereinafter the ”Producer”). 1. OBJECT OF THE AGREEMENT 1.1 The Producer will employ the Director for making the film _____________________ (hereinafter the ”Film”) in accordance with the terms and conditions agreed in this Film Director Agreement (hereinafter the ”Agree- ment”). 1.2 The Film will be filmed in ________ format, and its screen time is fixed at ______ minutes. 1.3 The target age limit for the Film shall be ______. 1.4 The production budget for the Film is ___________________ euros. 1.5 The Film shall be based on: a) ________ʼs literary or other work entitled ”______________”. The film rights in respect of the work have been transferred under a separate agreement between the Producer and the holder of the rights. b) Original idea by _________ The manuscript for the Film has been made by: _________________________. The film rights in respect of the manuscript have been transferred under a sepa- rate agreement between the Producer and the holder of the rights. 2. THE DIRECTORʼS JOB DESCRIPTION 2.1 The employment of the Director begins / has begun on ___.___.20___. 1 The Directorʼs work shall be conducted as follows: Preliminary planning between ________ - ________, in total __ days; Filming period between ________ - ________, in total __ days; Post-production work between ________ - ________, in total __ days. The Directorʼs employment will end once the Director has inspected and ap- proved the final form of the Film.
    [Show full text]
  • 2017 Schedule of Minimums
    SCHEDULE OF MINIMUMS WRITERS GUILD OF AMERICA 2017 THEATRICAL AND TELEVISION BASIC AGREEMENT SCHEDULE OF MINIMUMS WRITERS GUILD OF AMERICA 2017 THEATRICAL AND TELEVISION BASIC AGREEMENT This schedule covers the entire term of the 2017 Basic Agreement, but is not a substitute for the Basic Agreement. If there is any inconsistency between this schedule and the Basic Agreement, the Basic Agreement controls. If you have any questions regarding the application of these provisions or minimums, or relating to categories of minimums not included in this schedule, or if you have a question as to interpretation of the Basic Agreement, contact the Guild. Writers Guild of America, West, Inc. 7000 West Third Street Los Angeles, California 90048-4329 MAIN SWITCHBOARD (323) 951-4000 AGENCY (323) 782-4502 CONTRACTS (323) 782-4501 CREDITS (323) 782-4528 ORGANIZING (323) 782-4511 LEGAL SERVICES (323) 782-4521 MEMBER SERVICES (323) 782-4567 MEMBERSHIP (323) 782-4532 REGISTRATION (323) 782-4500 RESIDUALS (323) 782-4700 SIGNATORIES (323) 782-4514 Writers Guild of America, East, Inc. 250 Hudson Street New York, New York 10013 MAIN SWITCHBOARD (212) 767-7800 AGENCY (212) 767-7837 CLAIMS (212) 767-7852 CONTRACTS (212) 767-7837 (212) 767-7852 CREDITS (212) 767-7804 LEGAL SERVICES (212) 767-7844 MEMBERSHIP (212) 767-7821 ORGANIZING (212) 767-7808 REGISTRATION (212) 767-7801 RESIDUALS (212) 767-7814 SIGNATORIES (212) 767-7837 TABLE OF CONTENTS THEATRICAL .......................................................................................................................................
    [Show full text]